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June 2010 Sound Equipment Workshop Operation & Maintenance.

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Presentation on theme: "June 2010 Sound Equipment Workshop Operation & Maintenance."— Presentation transcript:

1 June 2010 Sound Equipment Workshop Operation & Maintenance

2 2 Sound Equipment Workshop Agenda –Equipment List –Microphone Categories and Polar Patterns –Microphone Models –Recording Sound –Zoom H2 –Zoom H4N –Sound Effects Library –Questions and Pack-up

3 Sound Equipment Workshop Audio Recording and Sound Effects Tools –Available from the SFU Surrey Library: Zoom H2, Zoom H4N 35 microphones including uni- and omni-directional, shotgun, clip-on Book equipment up to 2 weeks in advance Sound effects CD collection (a catalog is searchable/viewable online) – 2 hour loan Most of Sound effects CD collection also accessible from the desk top of all SFU Surrey student computers for download 3

4 Sound Equipment Workshop Microphone Categories –Stand microphone, for use either on a table or a floor stand. The microphone is usually wired to an amplifier or recording device. –Handheld microphone, which can be wired or wireless. Handheld mics are often omni- directional. –Lapel microphone (also called a lavalier), either wired or wireless. Boom microphone, usually attached to a long pole, held overhead. 4

5 Sound Equipment Workshop Common Microphones Polar Patterns –What are they good for? Omni-directional: –provides maximum ambient pickup –Low sensitivity to pops and clicks. –Can be hand-held, or used in a stand. –Function: Good for broad, or moving sound sources, and a variety of musical applications such as voice and acoustic instruments. 5

6 Sound Equipment Workshop Common Microphones Polar Patterns Bi-directional: –patterns are pointed outward at angles of approximately +/ degrees from the front of the microphone –Normally used on stands. –Function: Ideal for bi-directional sounds, 2-sided interviews. 6

7 Sound Equipment Workshop Common Microphones Polar Patterns Unidirectional – Cardioid, Supercardioid, Hypercardioid, Shotgun: –Directional microphones that have a heart-shaped pattern and is less sensitive to sound arriving from sources at angles 90 degrees or greater away from its front. –Provides max. pick-up of a source coming from a single direction –Good rejection of room acoustics and background noise. –Better gain-before-feedback than omni mics in sound reinforcement uses. 7

8 Sound Equipment Workshop Common Microphones Polar Patterns Unidirectional – Cardioid, Supercardioid, Hypercardioid, Shotgun (cont’d): –Cardioid microphones can be hand-held or attached to stands. The more directional microphones often need hand-held control, to keep them on target to the sound source. –Function: Excellent for capturing warm directional sound such as the voice of an interview subject or as an overhead mic. The shotgun has the most side rejection and longest reach. It is often used in the film industry to isolate sound sources at a distance. 8

9 Sound Equipment Workshop Polar Pattern Diagrams 9

10 Sound Equipment Workshop Omni-directional Mic –Audio-Technica ATM10a Frequency Response: ,000 Hz Sensitivity: phantom -44 dB, battery -45 dB 10 Ideal for group vocals, strings, cymbal overheads, acoustic guitar and piano Omni pattern provides maximum ambient pickup Extremely smooth, extended response on- and off-axis Low sensitivity to popping and overload Operates on battery or phantom power

11 Sound Equipment Workshop X/Y Stereo Mic –Audio-Technica AT822 Frequency Response: ,000 Hz Sensitivity: -45 dB 11 Ideal for DAT recording as well as television, FM and field applications Compact, lightweight design is perfect for camera-mount use Closely-matched elements provide the spatial impact and realism of a live sound field Battery operation only

12 Sound Equipment Workshop Cardioid Mic –Audio-Technica ATM31a Frequency Response ,000 Hz Sensitivity: phantom -44 dB, battery -45 dB 12

13 Sound Equipment Workshop Audio-Technica ATM31a (cont’d) 13 Ideal for close-up vocals, overheads, piano and strings Sound is similar to far more expensive studio microphones Low-mass diaphragm ensures minimum distortion Cardioid pattern provides added warmth when used close up Operates on battery or phantom power

14 Sound Equipment Workshop Mini Cardioid Mic (Lavalier Mic) –Audio-Technica AT831b Frequency Response: ,000 Hz Sensitivity: phantom -44 dB, battery -45 dB 14 Clip-on lavalier mic also ideal for interviews, and also effective in acoustic guitar applications. Provides crisp, full-sounding voice and instrument pickup. Operates on battery or phantom power. 6' (1.8 m) cable permanently attached between microphone and power module.

15 Sound Equipment Workshop Unidirectional (Shot-gun) Mic –Audio-Technica ATR55 Frequency Response: ,000 Hz Sensitivity: -56 dB 15

16 Sound Equipment Workshop –Audio-Technica ATR55 (cont’d) 16 Designed especially for use with video cameras Two range settings: "Normal" for close- to medium-distance recording; "Tele" for long- distance pickup Permanently-attached 3' (0.9 m) cable terminated with a 3.5 mm mini-plug NOTE: This is a mono microphone that needs to be connected to an MD recorder with a stereo adapter. Otherwise, the MD recorder must be switched to mono-mode.

17 Sound Equipment Workshop Zoom H2 –Solid State Recorder –4 Microphones –3 Recording Configurations –Stereo or 5.1 Mixing Applicable –USB Data Transfer 17

18 Sound Equipment Workshop Zoom H2 –Recording Configurations: Front 90° Front 120° Surround 2 or 4 channels 18

19 Sound Equipment Workshop Zoom H2 –Adjusting Recording levels: On the right side of the device switch the MIC GAIN to “L” Hit the record button once to enter the level adjustment display Use the average sound of the room as a gauge 19

20 Use the + - record level buttons to adjust the levels so the average falls between 12 to 6 dB If the average can’t reach 12 to 6 dB switch the MIC GAIN to “M” then readjust the average using the + - buttons If it is still too low use the “H” setting for the MIC GAIN This information will be repeated on every slide. Go to View > Header and Footer to edit or remove 20

21 Sound Equipment Workshop Zoom H2 –Recording: Hit the record button once again to begin recording The recoding light will glow solid red Hit the record a third time to stop recording 21

22 Sound Equipment Workshop Zoom H2 –Playback and Review: Make sure the PLAY/REC light is off then hit the play button Use the SEEK buttons to navigate through the recordings 22

23 Sound Equipment Workshop Zoom H2 –Retrieving the Files: Plug the USB cable into the Zoom H2 and your PC/MAC Click the MENU button and using the LEFT and RIGHT arrow buttons scroll to the sub-menu marked USB Select USB and connect to the computer. The device will now work like a flash drive Delete the files from the device once they are no longer needed. 23

24 Sound Equipment Workshop Zoom H4N –Solid State Recorder –X/Y True Stereo Mics –4 Channel Recordings –Digital Controlled Preamp –USB 2.0 Data Transfer –Built In Reference Speaker –XLR Inputs With Phantom Power 24

25 Sound Equipment Workshop Zoom H4N 25

26 Sound Equipment Workshop Zoom H4N –Solid State Recording: Uses compact SD or High-capacity SDHC memory cards up to 32GB Advantages: No mechanical noise, and are not disturbed by vibrations 26

27 Sound Equipment Workshop Zoom H4N –True X/Y Stereo Mic: Onboard stereo condenser mics are arranged with the left and right mics on the same axis. This ensures that the mics are always equal distance from the sound source Advantage: No phase differences between left and right channels. The result is proper phase alignment between channels. Result: Stereo Recording with natural depth and accurate imaging 27

28 Sound Equipment Workshop Zoom H4N –4 Channel Recording: Features a combination of two onboard mics with the option of using your own external mics as well. Use the built-in mixer to blend the channels for balanced recordings with good depth and clarity 28

29 Sound Equipment Workshop Zoom H4N –True X/Y Stereo Mic: 29

30 Sound Equipment Workshop Zoom H4N –Recording Configurations: Front 90° Front 120° 30

31 Sound Equipment Workshop Zoom H4N –Combined XLR/Phone Connectors: its Hi-Z inputs, you can record guitars or other line output sources such as mixing consoles A separate external mic input supports plug-in power microphones supplying them with phantom power 31

32 Sound Equipment Workshop Zoom H4N –Recording: Hit the record button once again to begin recording The recoding light will glow solid red Hit the record a third time to stop recording 32

33 Sound Equipment Workshop Zoom H4N –Playback and Review: Make sure the PLAY/REC light is off then hit the play button Use the SEEK buttons to navigate through the recordings 33

34 Sound Equipment Workshop Zoom H4N –Retrieving the Files: Plug the USB cable into the Zoom H4N and your PC/MAC Click the MENU button and using the LEFT and RIGHT arrow buttons scroll to the sub-menu marked USB Select USB and connect to the computer. The device will now work like a flash drive Delete the files from the device once they are no longer needed. 34

35 Sound Equipment Workshop Sound Effects Library –database of sound tracks on CDs –search by keyword or CD series –The SFU Library does not have every CD produced by this company but it has most –http://www.sound- ideas.com:90/sfx/searchsfx2.htmlhttp://www.sound- ideas.com:90/sfx/searchsfx2.html 35

36 Sound Equipment Workshop Sound Effects Searches 36

37 Sound Equipment Workshop Sound Effects Library –Virtual database available on all SFU Surrey computer desktops –Simply login and search through the database and copy any desired files to the desktop or USB device. 37

38 Equipment loan policy –Full equipment loan policy is available online at –Equipment is loaned to undergraduate and graduate students currently enrolled in an IAT course 38 Sound Equipment Workshop

39 Equipment loan policy –Equipment may be borrowed for use in class or in production of assignments required by the curriculum –Equipment may not be borrowed for personal use or for projects that are not directly related to IAT assignment 39 Sound Equipment Workshop

40 Equipment reservation –Equipment reservation is done at SFU Surrey library checkout counter –Reserved equipment must be picked up before 3pm on the day of reservation –After 3pm all reservations are cancelled and equipment will be loaned out to students on first come first serve bases 40 Sound Equipment Workshop

41 Late fines and penalties –Equipment are due at 12pm. There is no grace period and fine will start at 12:01pm –Late fine is $3 per hour for each equipment –Borrower will be financially responsible for damaged, lost, or stolen equipment Sound Equipment Workshop

42 Returns and renewals –Must return equipment to a library staff at SFU Surrey library checkout counter –No after hour drop box available for equipment (books only) –Do not return equipment to Burnaby campus, or Harbour centre campus. –Renewals must be done in person or by phone. No online renewal and do not leave a voice mail. 42

43 Sound Equipment Workshop Questions? Contact


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